ACCLAIMED actor Jr NTR is one of the most popular stars in Telugu cinema.
He recently came to wider global attention with a stunning lead role in record-breaking Indian blockbuster RRR, which was released in multiple languages and has become one of the highest-grossing films in Indian film history, including the Hindi dubbed version outperforming all recent commercial Bollywood films.
This week the seriously talented superstar, born on May 20, 1983, turns a year older and celebrates his 39th birthday. To mark the occasion, Eastern Eye decided to present an all you need to know A to Z about one of cinema’s biggest names.
A is for Aadi: Although 2001 film Student No. 1 did well, the actor’s first big success as a leading man was 2002 action drama Aadi, which would earn him his first major acting honours. The award-winning film would later be remade in multiple languages.
B is for Beginning: The actor was born Nandamuri Taraka Rama Rao Jr into a very distinguished family (see F) in Hyderabad. He was renamed as NT Rama Rao on the suggestion of his grandfather (G), who had the same name. He was a dedicated student, despite getting multiple acting opportunities as a youngster (see C).
C is for Child star: He made his debut as a child star in Brahmarshi Vishwamitra (1991), which was written, produced, directed, and headlined by his famous grandfather NT Rama Rao. The youngster followed that up with a lead role in mythological Ramayanam (1996), which would win a National Award for Best Children’s film, along with a host of other honours.
D is for Debut: Jr NTR played his first adult lead role in Ninnu Choodalani (2001), when still a teenager, opposite fellow debutante Raveena Rajput and gave that first money he received to his mother. Although the film didn’t do well, the young actor was noticed and signed multiple other films, which kick-started what would become a very distinguished career.
E is for Evaru Meelo Koteeswarulu: The actor took over as the host of popular TV show Evaru Meelo Koteeswarulu, which is the Telugu version of Who Wants To Be A Millionaire, in 2021. He followed on from legendary actors Nagarjuna, who hosted the first three seasons and Chiranjeevi, who helmed the fourth series. His other TV successes have included hosting Bigg Boss Telugu season one and appearing as a guest on multiple high-profile shows.
F is for Family: The Telugu superstar’s very distinguished family members include his late father Nandamuri Harikrishna, who was an actor, producer and politician, actor half-brother Nandamuri Kalyan Ram and, of course, grandfather NT Rama Rao. There are many other members of the family across three generations, connected to theatre, cinema, and politics.
NT Rama Rao
G is for Grandfather: He is named after his grandfather NT Rama Rao, who founded the dynasty and is the most distinguished family member. Popularly known as NTR, his grandfather was a leading actor, filmmaker, and politician, who starred in more than 300 films and laid the foundation for Telugu cinema with an incredible number of landmark achievements. He inspired multiple generations with his incredible body of work and impressive acting ability. Jr NTR once said: “I love being called NTR’s grandson. I never moved away from his shadow, maybe because I didn’t try enough or maybe because I like it this way.”
H is for Hyderabad: The actor has been born and brought up in Hyderabad. He has remained connected to the city and lives in a super expensive palatial property in the Jubilee Hills area, where many other Telugu movie stars reside. He once said, “I am a typical Telugu boy dominated by all the qualities of a Hyderabadi because I was born and brought up here.”
I is for Inspired: A number of the actor’s Telugu films have been remade in other languages. One of the most notable is his blockbuster hit Temper (2015), which was successfully remade in Bollywood as Simmba (2018) and in Tamil as Ayogya (2019).
J is for Japan: It isn’t just Indians who love Jr NTR because he also has a big fan base in Japan. He became massively popular in the country after his film Baadshah (2013) premiered at the Osaka Asian Film Festival and turned into a runaway success in the country.
K is for Kuchipudi: The actor is trained in the classical Indian dance form of Kuchipudi. This has enabled him to deliver dynamite dance moves on-screen with effortless ease. The multi-talented star has also performed live shows in the dance form.
L is for Lucky number: There are four nines in his Twitter ID (@Tarak9999) because that is his lucky number. He also reportedly has a luxury car with four nines in the number plate.
M is for Mohanlal: The actor has never shied away from working with big names and starred alongside Malayalam movie legend Mohanlal in smash hit movie Janatha Garage (2016). The highest-grossing Telugu film of that year won multiple honours, which included seven prestigious Nandi Awards.
N is for Nannaku Prematho: The Jr NTR film that has the closest British connection is 2016 action thriller Nannaku Prematho, which was extensively shot in the UK. He won multiple Best Actor honours for the acclaimed hit film, which included winning at the Filmfare Awards (Telugu) and Nandi Awards.
O is for Orphan: Interestingly, the actor has played an orphan who is thrown into an unexpected situation in a number of films, including Simhadri (2003), Narasimhudu (2005), Yamadonga (2007), Dammu (2012) and Temper (2015).
P is for Philanthropy: The big-hearted star has done a lot of work for charity across the years, including donating huge amounts of money to good causes and for relief work.
Q is for Quality: The selective star has always concentrated on quality over quantity and doesn’t let himself get distracted by meaningless things. He once said: “I believe in doing what I am best at. I don’t want to waste my energy in other things; instead, I would put all that in reaching the next level in a craft that I love the most.”
R is for RRR: His big budget entertainer RRR has become one of the highest-grossing Indian films in history. He delivered a stand-out performance in the period action drama, which was released in multiple languages and has become his biggest ever cinematic success.
S is for SS Rajamouli: The actor has formed somewhat of a dream team with ace filmmaker SS Rajamouli, who made his directorial debut with Jr NTR starrer Student No 1. They also worked together on hit films Simhadri (2003), Yamadonga (2007) and, of course, RRR (2022). Jr NTR described him as a tough taskmaster and gave him the nickname Jakkana, after a famous sculptor known for his immaculate masterpieces.
T is for Triple: Jr NTR has never been afraid to experiment throughout his career and in 2017 he did that with a triple role in action film Jai Lava Kusa. The film following identical triplets who get separated at a young age and follow different paths in life was a resounding success despite getting mixed reviews.
U is for Upcoming film: The actor is teaming up with Janatha Garage (2016) director Koratala Siva for another project. He will also be starring in a film helmed by KGF: Chapter 1 and 2 director Prashanth Neel. He is open to acting in Hollywood movies in the future.
V is for Voice: Another talent that sets him apart from other stars is his superb singing ability. He has sung a number of film songs himself and even got a Filmfare Award (Telugu) Best Male Playback Singer nomination for the Nannaku Prematho (2016) song Follow Follow.
W is for Wedding: The actor married Lakshmi Pranathi on May 5, 2011, in Hyderabad. The couple have two sons.
X is for X Factor: Apart from being relatable, what has elevated the actor to great heights is his all-round ability. This has included singing, dancing, acting and being able to transform his physical appearance.
Y is for Yamadonga: One of the most unique films of his career is 2007 Telugu fantasy action comedy Yamadonga, which revolves around a thief who dies and must face a trial of fire in hell for his sins in the other world. He went on to win a Filmfare Award for Best Actor (Telugu) for his multi-layered performance in the film.
Z is for Zen: The actor enjoys yoga and meditating. Perhaps, the form of relaxation he likes most is cooking and once described that as the best meditation of all. He said: “Whenever I am stressed, I cook a good meal for my wife. Many people don’t know this, but I’m actually a great cook.”
The National Theatre’s annual Connections Festival will return this June, celebrating its 30th anniversary with a week-long programme of youth theatre performances from across the UK.
Running from 24 to 28 June, the festival will also mark the reopening of the Dorfman Theatre, which has been closed since November 2024 for government-funded refurbishment works.
Over the past three months, more than 5,000 young people from over 270 schools and youth theatre groups have performed in venues across 33 professional stages nationwide. From this wide participation, ten theatre groups have been selected to perform at the National Theatre in London.
Each group will stage one of ten newly commissioned plays, offering young performers the opportunity to explore contemporary themes including identity, climate change, and community.
The selected groups and their plays are:
Fresh Air by Vickie Donoghue – Central Foundation Boys’ School, London
Ravers by Rikki Beadle-Blair – HOME Young Company, Manchester
Mia and the Fish by Satinder Chohan – Abbey Grange Academy, Leeds
The Company of Trees by Jane Bodie – Hamilton District Youth Theatre, Lanarkshire
Their Name is Joy by May Sumbwanyambe – Nottingham Girls Academy Theatre Company
Saba’s Swim by Danusia Samal – Central Youth Theatre, Wolverhampton
Normalised by Amanda Verlaque – Brassneck Youth, Belfast
No Regrets by Gary McNair – Glasgow Acting Academy
Brain Play by Chloë Lawrence-Taylor and Paul Sirett – Chatham and Clarendon Grammar School, Ramsgate
YOU 2.0 by Alys Metcalf – Everyman Youth Theatre, Cardiff
Young participants have also been involved in backstage roles, including lighting, costume design, directing and composing, helping to realise their productions from start to finish.
Indhu Rubasingham, Director and Co-Chief Executive of the National Theatre, said: “I am really pleased to welcome ten youth groups from all corners of the UK to the NT for this landmark anniversary festival of Connections. Everyone should have the opportunity to experience the power of theatre-making.”
Since launching, the festival has engaged over 125,000 young people, with former participants including actors Keira Knightley, David Oyelowo, Rose Ayling-Ellis, and Callum Scott Howells.
Each year, ten new plays are commissioned for Connections, contributing to a growing archive of over 235 scripts written specifically for young performers.
Tickets are available for £5 per show, or £8 for two performances in one evening. All shows will feature captioning for accessibility.
Whether it is her cool songs like Checka, Piya Piya Calling and Siste Dans, cutting-edgeEP Running Deep, or acclaimed 2024 debut album Shahrazad, Delara has consistently crossed creative horizons and collaborated with global talent.
The award-winning Norwegian singer has lit up the live scene, clocked millions of streams, and connected with diverse cultures through her eclectic music. The fabulously forward-thinking talent has added to her impressive achievements with the newly released Kalash Reimagined, a bold collaboration with Indian singer Charan, Pakistani producer Talal Qureshi and Jamaican-American rapper BEAM.
Eastern Eye caught up with Delara to discuss her music, inspirations, future hopes and unique new single.
Her new track, Kalash ReimaginedInstagram/ amandadelara
What first connected you to music?
I think music was always part of my life before I even knew what it meant to me. I grew up in a household where my parents would talk about life and politics around the dinner table. That energy of emotion, reflection and curiosity somehow found its way into the songs I started writing. Music became my space for understanding myself and the world around me.
How do you reflect on your music journey so far?
I’m proud of how much I’ve dared to evolve. From the start, I didn’t take the easiest route. I sang about politics and personal struggles when people told me not to. But I’ve always trusted that staying true to myself would lead me to where I’m meant to go. That has shaped me into the artist I am today – a mix of experimentation, boldness and vulnerability.
Which of your songs is closest to your heart?
That’s a hard one, but Unbound will always be very close to me. I wrote it during a time when I was thinking a lot about the impermanence of life, and how nothing and no one lasts forever. The relationship I have with my mother, who means everything to me, inspired much of that song. Having her in the music video made it even more emotional and personal.
How much did the acclaim your debut album received mean to you?
Of course, I’m grateful for the recognition, but I try not to get too caught up in critical acclaim. What means the most to me is the feedback I get from listeners – people who send me messages or come up to me after shows saying a song helped them through something. That’s what gives me confidence and keeps me creating.
Tell us about Kalash Reimagined.
Kalash Reimagined takes the original track to new heights by merging powerful voices and sounds from different parts of the world. After working on Piya Piya with Coke Studio last year, it felt natural to expand on this fusion of cultures. The remix blends south Asian sounds, Jamaican energy and Norwegian–Iranian influences to create something bold and deeply emotional. It is a celebration of what can grow when different worlds collide.
What was it like collaborating with Charan, Talal Qureshi and BEAM?
Collaborating with Charan, Talal and BEAM was an amazing experience. Charan brought his unique perspective and fresh energy to the track. Talal’s creativity and musical vision really helped elevate the sound, while BEAM’s raw intensity added something special. It felt like a real meeting of different worlds, with voices that had something real to say. The collaboration was a true exchange of energy and ideas, and it came together beautifully.
How would you describe this track?
It’s a powerful fusion of sounds and emotions. Kalash Reimagined is bold, raw and unapologetic – yet playful and full of energy. The track exists in the spaces between cultures, not trying to represent everything but highlighting what can grow when worlds collide. It celebrates shared experiences and the beautiful complexity that emerges from blending different backgrounds.
Who are you hoping this song connects with?
I hope this track resonates with anyone who feels caught between cultures or identities. It is for those who do not fit neatly into one box. Whether you are from south Asia, the diaspora, the Caribbean or anywhere in between, I want the song to speak to those who feel empowered by blending different worlds – and who are open to the beauty that comes from that fusion.
What can we expect next from you?
There is a lot on the horizon. I’m about to announce my biggest headliner show yet, which I’m incredibly excited about. I’m also working on new music and visual projects that will push boundaries, along with more cross-cultural collaborations like Kalash Reimagined. The goal is always to connect sounds and stories in unexpected ways. I’m exploring fresh creative paths, keeping things organic and letting ideas flow freely.
Who would you love to collaborate with? There are so many, but right now I would love to work with artists who challenge genres and tell strong stories – people like Bad Bunny, Rosalía, Frank Ocean or even Raveena. Artists who are not afraid to blend cultures and sounds.
What kind of music dominates your personal playlist?
It’s a mix of many things. But with summer approaching, there is a lot of Afro, reggaeton, salsa, r’n’b and hip hop. I’ve actually created a personal playlist that I share with my listeners.
What inspires you as an artist?
Life itself – my family, friends, conversations with strangers, travelling, latenight thoughts, missing home, or wondering what home even means. I get inspired by contradictions, and those quiet moments of reflection when I’m not even trying to create.
Why do you love music?
When I’m creating music, I feel the most free. It is a space where only your mind, creativity and ideas matter – not how you look or how others see you. Music was the first place where I felt truly seen and heard. It’s a powerful force of connection, the closest thing we have to real magic – a universal language that everyone understands. In just seconds, music can make us feel a little less alone. How can you not love that?
Instagram: @amandadelara
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The book explores the power of community, teamwork, and belonging
With the release of Pia’s Pet Club: Puppy Problem on 8 May, award-winning author Serena Patel brings young readers a heartwarming new series that combines humour, friendship, and cultural representation. Known for her Anisha, Accidental Detective books, Patel spoke to us about her inspiration, the writing process, and why visibility in children's literature matters.
From PowerPoint slides to pet chaos
The origins of Pia’s Pet Club are rooted in a familiar family negotiation. Patel recalls, “My son was trying to persuade us to get a bigger pet. He made PowerPoint slides, showed us TV programmes, did all his research. Eventually we gave in—and now we have two ragdoll cats.”
That experience inspired Pia, a young girl desperate for a pet of her own. When her parents say no, Pia sets out to prove she’s responsible by helping her friend Hari train his unruly puppy, Luna. Predictably, chaos follows—and so does the idea of forming a pet club.
One of Patel’s favourite scenes to write involved a spectacularly failed attempt to train Luna. “It was really fun to write. The kids think it’ll be easy, but the dog has other ideas,” she laughs.
A heroine with heart and flaws
Pia is Patel’s latest strong-willed lead character. “She doesn’t always get it right, but she’s trying her best,” she says. “She’s flawed and real, just like any child.”
Patel, who grew up in a South Asian household, shares that she never saw herself in books as a child. “I never came across South Asian characters in funny stories. Seeing yourself in a book gives you a sense of belonging—it’s validating,” she explains. Pia’s cultural background is woven naturally into the narrative, from home-cooked meals to family dynamics and familiar words.
A visual world, brought to life
The illustrations in Pia’s Pet Club are by Emma McCann, who has worked with Patel for several years. “Emma’s brilliant. It’s like she has a camera inside my brain,” Patel says. “She adds humour and detail that isn’t even in the text. It’s a real collaboration.”
Set in the communal garden of an apartment block, the book explores the power of community, teamwork, and belonging. Patel describes it as a departure from the mystery genre that defined her previous work. “This one feels more like a warm sitcom—funny, but full of heart.”
The first book took nearly three years to develop, from idea to finished manuscript. “There were moments I doubted myself, but I wanted to make it the best it could be,” she admits.
What's next for Pia?
The series is already expanding. The second book, The Secret Kitten, is due in January 2026, and the third, Guinea Pig Showtime, will follow in July 2026. Readers can expect more mishaps and humour as Pia and her friends take on new pet-related challenges, including a pet talent show.
From page to screen?
With Anisha, Accidental Detective in development for television by BBC Studios Kids & Family—featuring Emmy-winning actress Archie Panjabi as executive producer—it’s no surprise that Patel has considered a screen future for Pia as well.
“It’s the dream,” she says. “The setting, the characters, the themes—they’d all work brilliantly on screen.”
Ahead of the launch, Patel is preparing for a number of school visits and events. “It’s a new series. You never know how it’ll be received,” she says. “But the early feedback has been great.”
For readers young and old, Pia’s Pet Club offers a story of determination, friendship, and cultural pride. “Books are powerful. They stay with us,” Patel says. “And if Pia makes just one child feel seen or brings a smile to their face, then I’ve done my job.”
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Badyal brings a wide breadth of experience across the creative industries
Saxton Bampfylde has announced the appointment of Jonathan Badyal as senior advisor to its arts, culture and creative industries practice. The firm, which has supported this sector for nearly four decades, works with some of the world’s most respected cultural organisations on senior leadership appointments.
Badyal brings a wide breadth of experience across the creative industries, including roles in both the public and private sectors. He is currently a partner at Trafalgar Strategy, a global advisory firm, where he provides strategic and communications counsel to CEOs and leading creatives. With a particular interest in India, Badyal is also working to develop the UK’s cultural ties with the country, exploring opportunities for collaboration in the arts and creative sectors.
During his career, Badyal spent eight years at Universal Music UK, most recently serving as director of communications. In this role, he managed key relationships across the creative industries and government. Prior to this, he spent five years advising the UK government’s culture and digital minister, gaining deep insight into arts and creative industries policy.
His board roles include deputy chair at the Black Country Living Museum and interim chair of the National Academy for Social Prescribing. He has previously served on the Tate Modern advisory group and was recently listed in the PRWeek UK Power Book 2025.
Saxton Bampfylde’s arts, culture and creative industries practice has partnered with a wide range of organisations across the sector, including the National Theatre, British Museum, V&A, BBC, SXSW, and the GRAMMYs. The firm has also worked with a number of prominent theatre institutions, including the Almeida Theatre, Trafalgar Entertainment, Punchdrunk, Young Vic, Sheffield Theatres, Birmingham Rep and Pitlochry Festival Theatre.
Ed Bampfylde, head of the arts, culture and creative industries practice, said: "We are thrilled to welcome Jonathan to our team. His breadth of experience across the creative industries gives him a unique perspective that will be invaluable to our clients. Jonathan's commitment to the sector, coupled with his vision and depth of understanding of the evolving creative landscape, perfectly complements our mission to identify and support transformative leaders."
Commenting on his appointment, Badyal said: "I’ve always had a real passion for putting people together, particularly when it comes to boards and CEOs looking for exceptional individuals who can bring something different to their organisations. I’m delighted to now be doing this in a formal capacity, advising the team at Saxton Bampfylde as they continue to work with some of the world’s most important organisations in sectors I care so deeply about."
BITING POINT is “a desire to find goodness in a difficult and uncertain world,” its British Indian playwright has said, adding that he hopes it will resonate with audiences in Hull and beyond.
Written by Sid Sagar, the play is a sitespecific production performed in car parks and examines how anger can turn good people ugly.
“The play is deeply rooted in examining how anger can transform ordinary people – individuals simply going about their lives, dealing with everyday stresses that audiences will relate to, whether that’s work pressure, family stress or relationships not functioning as well as desired.
“It also explores how being caught in city centre traffic and congestion in Hull can affect people’s temperament,” Sagar told Eastern Eye in an interview.
He added, “In recent years, particularly during and since the pandemic, there has been a general rise in rage among the public. This anger partly stems from the less formalised, less polite conduct we now see in mainstream politics, which trickles down to ordinary people who feel so disempowered and disenfranchised that venting – often in problematic ways – seems their only recourse to be heard.”
Directed by Paul Smith, Biting Point centres around a road accident and its knock-on effects. John (played by Marc Graham), a white British delivery driver, and Anita (Katie Singh), a British south Asian property manager, have grown up in the same city with both similar and differing experiences and frustrations of keeping pace with modern life. When they collide at a roundabout in relentless rush-hour traffic, their frustrations and anger boil over, leading them to react in ways they never thought possible.
Biting Point’s running time will be 75 minutes without an interval.
“The unique aspect of this production is that it’s touring to car parks of various shapes and sizes rather than conventional theatres. The actors will perform live, while audience members entering the car park will be given headsets through which they’ll hear poems and thoughts from local artists before the show begins. Suddenly, viewers will be thrust into the characters’ world, who sometimes communicate with each other, but more often replay memories, telling us about various interactions with important people in their lives,” said Sagar, who took four years to write the play.
“Through the headphones technology, audiences will experience numerous characters and an entire world of voices, adding to the sense of people being weighed down by information overload. This overwhelming nature of societal demands fuels the rise in rage, or at least creates a sense that people don’t quite know how to manage stress, which, if left unaddressed, can quickly develop into something more worrying.”
In his opinion, without the conventional “fourth wall” of darkened theatres, actors will directly engage with viewers, creating an immediate connection that makes the audience feel part of the storytelling process.
According to Sagar, the novel approach of performing the play in car parks emerged through collaboration with himself, the director and the production team. The play also received support from Without Walls, a UK charitable foundation that funds site-specific art projects in unexpected locations.
He said, “The car park setting aims to make theatre more inclusive and accessible, bringing stories to communities who might not typically attend traditional venues. It transforms an ordinary, functional space into something that can tell meaningful stories about the place people find themselves in.
“Upon arrival, audience members will receive headphones, a cup of tea, and a magazine featuring works by local artists. The immersive experience includes memories, sound design, and unique perspectives from the top floors of car parks, offering spectacular city views rarely appreciated.”
Though acknowledging it’s a challenge and perhaps a risk, Sagar said the most rewarding outcomes often come from embracing such challenges.
The actor-writer is from Delhi and grew up in Hertfordshire.
Asked how his Indian background influenced his writing, he said, “I was born to parents from Delhi and grew up in Nairobi, Barcelona and Moscow until I was eight, when my family moved to England in 2001. I settled in Hertfordshire, just outside London, where I spent my formative years before later relocating to north London.
“This experience of movement and feeling ‘slightly different’ heightened my selfawareness from a young age, making me more attuned to how people respond to differences. My own background fostered my interest in storytelling about ‘big themes from small places’ and examining ordinary people’s experiences.
“As with many artists from ethnic minority backgrounds in the west, my work is underpinned by a desire to understand my place in a society that presents itself as inclusive, whilst acknowledging persistent troubling views about integration and immigration.”
Biting Point was commissioned in 2023, prior to the 2024 summer riots that swept through Southport, Hull and other towns and cities across the UK.
Sagar added, “For the play, I created Anita, a character with south Asian heritage born and raised in Grimsby (northeast England), who sounds local, but looks Indian.
“The play’s 2025 performance comes less than a year after the UK riots of 2024 – events reflecting both legitimate expressions of despair and more nefarious forces, resulting in attacks on minorities. While I resist reductive classifications of ‘British Asian’ identity, I believe engaging audiences with these complex stories of belonging and community might help them leave the theatre feeling differently than when they arrived.”
The innate human tendency towards goodness and acceptance is often forgotten as we navigate adulthood, Sagar said.
“When this fundamental nature intersects with today’s globalised, increasingly unequal world, the consequences for ordinary people can be devastating. Our political systems frequently leave those without a voice feeling more disenfranchised, while those at the upper end of the scale control media and politics. This power imbalance can lead fundamentally decent people to develop resentment. When communities change and opportunities diminish, people naturally search for explanations. However, the true causes are often more complex than we wish to believe. The 2024 riots, for example, cannot be attributed solely to asylum seekers in hotels; these communities’ grievances stem from decades of governmental neglect – closed libraries, underfunded schools, and relocated hospitals. These systemic failures can transform good people’s outlook, with potentially devastating results. Ultimately, this play aims to offer communities hope that goodness remains possible, even when circumstances seem stacked against us.”
Sagar trained with the Soho Theatre Writers’ Lab, the INSPIRE scheme at Hampstead Theatre, the London Library Emerging Writers Programme, and the Channel 4 Screenwriting Course in 2023.
The writer, who also plays Mr Praed in Mrs Warren’s Profession at the Garrick Theatre, London, later this month, said his acting journey also helped him with his writing. “I think acting is always useful. It gives you insight not only into how other creatives work – what directors and writers need – but ultimately, because you’re the one who must stand up and deliver the lines, it gives you a sense of how dialogue works and what makes for good dialogue. It also helps you understand what makes for good characters.
“Actors are naturally drawn to playing complex characters. We want to play people who have a journey in a play. You don’t want to just stand there and say one line over several hours - you want to have something to hold on to. That informs the way I write. I want to create interesting people doing interesting things, even if, at first glance, they don’t come from particularly interesting places.
Sagar added, “For example, in Biting Point, you have John, who is a delivery driver - someone doing a job most people might not pay much attention to. Then there’s Anita, a property manager, which might sound dull or ordinary. But their inner worlds, the things affecting them every day, are complicated, messy, knotty, and sometimes funny too.
“So, I think my acting background - my experience on stage performing, making people laugh, moving people - means I want to give actors the opportunity to shine and tell exciting stories. My performance background informs the way I write, and vice versa. The way I write also draws me, as an actor, to work that is challenging, provocative, and says something about the world, rather than shying away from it or accepting things as they are.”
Biting Point opens in Hull next Saturday (10) and will tour north England until June 22.